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Issue 2.0
Summer Term 2018
Inside this issue Sing into Literacy How music can be used to boost literacy and parental engagement in early years settings.
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Making the case for music How you can convince your school to give more priority to music.
Plus: Inclusion, Kodaly, Artsmark, Singing, Bollywood, & more!
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Primary Music Magazine
Issue 2.0 Summer 2018
Sing into Literacy Bringing singing and music into the home can be good for children’s early language, reading and writing development.
by Rebecca Peasley Research has confirmed that involving parents in children’s learning is one of the most effective ways of improving outcomes. This is why new support to help parents improve their children’s early language and literacy skills was announced this April by Education Secretary Damian Hinds. Using singing and music to help build the confidence of parents to support their children’s early literacy development can be a great way to help build home-‐school partnerships. Many parents do not realise the benefits of using music and nursery rhymes to encourage early learning. So what are these benefits? Language development
Music and rhyme are the foundations of early learning. Nursery rhymes can effectively support the acquisition of language due to the connections created between both sides of the brain. Adding movement and music to language can assist memory and recall. Singing nursery rhymes also gives children plenty of practice in sentence structure, often leading to these becoming some of children’s first sentences. Action songs and rhymes can help to build a child’s vocabulary and numerical skills, whilst also supporting listening development -‐ an important part of language and learning. Regular recitation of nursery rhymes can also help to teach children simple concepts such as ‘over’ and ‘under’ as well as reinforce and consolidate children’s learning.
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Reading development Singing songs and rhymes is a really effective way to support children’s phonological awareness -‐ a really important auditory skill needed for learning to read and write. Singing nursery rhymes and taking part in musical activities offer regular practice and pleasurable repetition of the skills needed for phonological awareness to develop. Musical activities support children to become skilled at detecting variations in sound. Musical activities such as those that involve matching corresponding musical sounds can be used as a prerequisite for matching letters with their shapes; whilst musical activities that encourage cross-‐lateral movements will support children’s ability to scan from one side of the page to the other when learning to read.
Primary Music Magazine
Nursery rhymes are often some children’s first introduction to story. When singing nursery rhymes, babies and young children are aware that songs have a beginning, middle and end. This brings an early awareness to story structure. Dance and music-‐based physical movement can also help children become aware of rhythm and pulse. There is some evidence that suggests that being able to find and keep a beat may be good for developing good reading skills. Writing development The physical skills that are essential for writing can be easily often overlooked and underestimated by parents. Gross motor skills dictate the rate at which fine motor skills are acquired. Nursery rhymes can inspire a great deal of physical movement which can support both fine and gross motor development. Musical activities that encourage children to make large gross motor movements from the shoulder can help children to develop the control and stamina needed in the upper arm to write. To be able to write across a page children need to be able to cross their mid-‐point, which can be developed through physical games and musical activities using alternate hands. Encouraging children to play untuned percussion instruments can also encourage children’s hand-‐ eye coordination which is needed to help keep writing within set lines. Through music and song, children can explore how their bodies move and express how they are feeling even before they might have the vocabulary to do so. Physical activity is not just what a child wants to do, it is what they need to do in order to gain control over their bodies. A strong movement vocabulary enables children to acquire the control over their body needed to sit at a desk, hold a pencil, and write.
Issue 2.0 Summer 2018
Parents as partners Children need to hear and enjoy music and nursery rhymes if they are to be encouraged join in. Recent years have seen a reduction in the amount of traditional nursery rhymes heard at home. Some parents are now spending more time engaging with technology than their children. This shift in social culture means that many children are not surrounded with the language that their parents were when they were young. This could be one reason that Research from the Oxford University Press (OUP) in April, 2018 found that half of five-‐ year-‐olds in some schools were behind in their language skills. This statistic is a reminder of just how important it is to promote the importance of quality home interactions, including the benefits of singing and nursery rhyme play, to parents. My own approach to this has been to develop Sing into Literacy bags which aim to give parents the confidence that they need to help their children progress at home. The bags focus on making learning fun by providing a range of activities that can support children at varying stages of literacy development. According to a study carried out by the Fatherhood Institute, some 70% of fathers who live with their children want to be more involved with their children’s education. The Sing into Literacy bags can help to engage dads through movement games and activities that help to give them, as well as other family members, the confidence they need to help their children grow into confident learners. “These activities are a fun way of learning! We both had fun doing them, and as a parent I think they are a great idea…” Through the early encouragement of parents to support their children’s learning at home, it is hoped that they will be more likely to continue supporting their child throughout their education.
Rebecca Peasley is a mother, teacher, and founder of ‘Little Readers Book Club’. Rebecca has developed a range of ‘Sing into Literacy’ bags that use nursery rhymes as a vehicle to help engage parents with supporting their child’s early Literacy development. www.littlereadersbookclub.co.uk
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Primary Music Magazine
Issue 2.0 Summer 2018
Head teachers and your school’s senior leadership team are likely to be personally supportive of music. However, they are caught professionally between a rock (finance) and a hard place (accountability) when it comes to music in schools. With budgets still under pressure, school leaders need your help to make the case for music.
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by Henry Vann & Kevin Rogers Incorporated Society of Musicians
Making the Case for Music Above all else, you need good quality music teaching that is creative, imaginative and inclusive: make it so strong that students and parents demand that your school continues to support music.
To demonstrate the quality of your curriculum (and wider work), do you conduct student interviews and share the outcomes with SLT? Have you ever encouraged parents to send in letters about the difference music is making to their children? Feedback comments from your local community after musical events could be helpful too. If pressures still exist, encourage SLT to consider the overall value of expenditure on music and not simply the specific cost of supporting, for instance, instrumental / vocal lessons for some students. We have gathered together the following suggestions from conversations over many years which we hope might be helpful as you make the case for music. To demonstrate the value of school expenditure on music, we have to be able to demonstrate that all pupils genuinely engage with and benefit from music. Do all pupils regularly hear music played by students in assemblies, formal and informal concerts? For instance, can soloists for a concert do a practise run in front of their classmates? Do instrumental learners always bring their instruments to class lessons, so that their peers can benefit from their expertise? Do informal musical events genuinely enable all students to participate? And who is involved: have you made sure you can track the involvement of children who are looked after, those entitled to pupil premium support and those with Special Educational Needs and Disabilities (SEND), etc.? Do you routinely get students to describe the impact of musical events they have attended or participated in – and share this feedback with SLT? These are all important factors to consider when proving to senior school leaders the value of music within our own institutions. But there is also wider research that we can draw on. There are of course many resources out there demonstrating the positive impact of music education but here are two that draw a lot of evidence together – This is your brain on music by Daniel Levitin, and Professor Susan Hallam’s excellent review of evidence in The Power of Music which is available on the MEC website. You can use these resources to find the research on how music can support whichever specific aspect of learning / brain development is the current focus of your school. More focused on the impact of learning an instrument is the recent pilot study by Professor Susan Hallam and Kevin Rogers, published in the
Primary Music Magazine
Issue 2.0 Summer 2018
British Journal of Music Education (BJME), which found that pupils learning a musical instrument experienced ‘greater progress and better academic outcomes than those not playing with the greatest impact for those playing the longest.’ As well as the above evidence, your local music education hub can be your strongest ally when you are making the case for music in your school. For example, Wiltshire Music Connect, the local music hub in Wiltshire, produced an excellent resource called Why music matters which summarises why music and music education is important.
Even Ofsted might help: there is a growing emphasis on the ‘broad and balanced curriculum’ and if you add to this Ofsted’s commitment pupils’ spiritual, moral, social and cultural development then their inspections may be a friend to music. The creative industries are worth £92 billion a year to the UK economy – that’s bigger the oil, gas, life sciences, aerospace and automotive industries combined! They employ around three million people and are growing faster than the rest of the economy. But even beyond our own industry, music is clearly a winner. According to figures from the Higher Education Statistics Agency (HESA) four of the top ten universities in the UK for graduate employment are specialist music education institutions. (This figure rises to six out of ten if you include all arts institutions.)
‘During my professional life I have interviewed thousands of applicants. Forced to choose between a narrow-‐minded MBA and a broad-‐minded, intellectually curious graduate in music, I always chose the latter. I could train the musician to be a smart banker, but the MBA who thought he had learnt everything could no longer be stimulated or moulded into someone who never stops having doubts.’ – Rudi Bogni, former UBS Executive A major report by Deloitte on the growing threat of automation says that ‘in the future, businesses will need more skills, including: digital know-‐how, management capability, creativity, entrepreneurship and complex problem solving,’ and the CBI report First Steps: A new approach for our schools, published in November 2012, identified the preparation of children who are ‘Determined, optimistic and emotionally intelligent’ citing ‘creativity’ as one of those core attributes. This article is just a brief introduction to some of the evidence out there that can help you make the case for music in your school. If you want to get involved nationally, we would recommend joining the ISM and signing up to support our trailblazing Bacc for the Future campaign at www.BaccfortheFuture.com
The Incorporated Society of Musicians is the UK’s professional body for musicians and a nationally-‐recognised subject association for music. We were set up in 1882 to promote the art of music and to protect the interests of all musicians. Today we support over 8,500 members with specialist and tailored services and expert advice, from study up until retirement and beyond. www.ism.org @ISM_music
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Primary Music Magazine
Issue 2.0 Summer 2018
Primary Music Magazine
Promotion
Issue 2.0 Summer 2018
Bringing brass alive
Jonty Hines, key account manager with emphasis on education at Warwick Music Group, thinks plastic is a fantastic way to introduce young children to the world of brass music. It was back in 2012 that the world was introduced to the first plastic trombone: a genuine instrument designed by musicians for musicians (and aspiring musicians). The development of pBone was a labour of love but its introduction – in a variety of colours – has helped create a resurgence of interest in brass music, especially in schools. The company behind it is Warwick Music Group: a team of UK-‐based musicians who are passionate about wanting more people to enjoy playing brass. Since that time, there have been further developments: pBone was followed by pBone mini, particularly suited for younger players; then came pTrumpet (the world’s first all-‐plastic trumpet incorporating plastic valves) and most recently, and perhaps most significantly for primary music, a totally new instrument – pBuzz. More eye-‐catching than a recorder, lighter than a drum and easier to play than a xylophone, pBuzz is a low-‐ cost way of introducing brass music to children as young as three. Designed in the UK, the brightly coloured, light and smooth curved edge product has been designed specifically for little hands. Simple and easy to play, the mouthpiece makes it the perfect introduction to music for early learners. pBuzz has received a rapturous welcome from teachers and children alike both in the UK and worldwide. It won Gold in the 2016 Primary Teach Awards and is designed to provide the first step on any child’s musical journey. Most recently, a new free pBuzz Music Curriculum for KS1 resource has been developed in conjunction with Music Education Solutions®. The online teaching resource is for use by any teacher – musician or not. The resource includes a step-‐by-‐step guide and support system to introduce pBuzz to Years One and Two. It comes with the pBuzz classroom bundle – that enables schools and teachers to purchase a complete package. The resource includes lesson plans, assessment trackers, videos, specially composed music, teacher development materials and cross-‐curricular activities. All of us working in education and with teachers know that youngsters who have early exposure to musical instruments develop areas of the brain that relate to social, language and reasoning skills – as well as memory. Our belief is that early exposure to a playful product such as pBuzz can help develop a child’s sensory and fine motor skills, encourage self-‐expression, stimulate imagination and creativity, build confidence and nurture their natural music talents. And that, I imagine, is something we all strive for whether teacher, parent or carer.
For further information on pBuzz visit www.pbuzz.co.uk. For information on pBone visit www.pBone.co.uk and for information on pTrumpet visit www.ptrumpet.com 7
Primary Music Magazine
Issue 2.0 Summer 2018
What is the value of the arts in primary education? A parent’s viewpoint by Sian McCarroll I’m that Mum. The one screeching into a parking space outside the school gates, sprinting up the school drive, wild-‐haired and wild-‐eyed, tripping over the buggy, bloody hungry because as usual I didn’t allow enough time for Breakfast, ushering my eldest, B, through the school door with all of 2.9 seconds to spare. Hollering ‘I LOVE YOU’ as he goes, and then murmuring it quietly as I turn my attention to the baby and meander back down the hill to the car. The point is that I am about as far removed from someone who could impart wisdom and learning as it is possible to be. I am not a teacher. I am probably best categorised as a loveable (hopefully) idiot. Being brutally honest, helping B with his 5 times table and practising his magic Es has driven us both to eye-‐twitching stand-‐offs and only confirmed my admiration for anyone who teaches. It’s a tough gig and whilst I am in no way qualified to comment on the ins and outs of the system you work within; what I can offer as a rambling, caffeine-‐fuelled, wild-‐haired lunatic, are my thoughts from the other side on the role of the arts in primary education. We’re almost two years into the primary education system. As a Mum, it’s been challenging. B is a funny, articulate, creative child. He is also painfully sensitive, naturally anxious and a thinker. He needs a little time to work through a concept in his head in order to grasp it with confidence. School has not been an easy transition, because whilst there are so many things he is great at, the things that haven’t come naturally are the things our system state are THE ONLY THINGS, and these things must be mastered quick sharp so that one can then move onto the next things.
Reading and writing have come slowly but surely with a lot of support from his brilliant Year 1 teacher and extra work from us behind the scenes. Maths has been easier, but still not easy.
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As a parent it’s not an easy thing to watch your child pushed down a linear model of learning that makes them question themselves, eats into their self-‐confidence, and absolutely fails to recognise them as an individual. As a kind, thoughtful, imaginative boy who can build any Lego kit you present to him. A child with a wide vocabulary, a natural desire to understand how things are built and work, and a huge love for being outdoors.
Just not as quick as some of his peers to master the spelling of apparently crucial words like trustfund and desktop.
I had an interesting conversation recently with a friend of mine who remarked that as far as she can see we’re setting a generation of children up without the tools they will need to flourish in the jobs market. I think she’s right. In 10 years time, strong careers won’t be built on the same foundations they were 10 years ago. The success stories of B’s generation will not be defined by the ability to use a time adverbial or recite number bonds up to 20. Their successes will be built on the ability to innovate, to think creatively and to problem solve. I don’t think our system as it stands has recognised this. The chink of light for me comes in the shape of the arts. If B comes home with one story from the day, one thing he is proud of, it is something he has created. Maybe it’s a dance he’s come up with, or something he’s made, or a song he’s learning. The arts in general, music in particular, gives him space to breathe and time to be his own unique self. He can define his own successes, move in whatever direction he chooses and achieve to his own agenda; and this is where he flourishes. And maybe (just maybe) this little proportion of arts will give him everything he needs to go on and make his own success, because it will teach him the skills that his generation need – to create, to innovate, to be fluid in the way he thinks and responds.
Primary Music Magazine
Issue 2.0 Summer 2018
And the baby? Before the baby could walk, before he could crawl, THE BABY COULD DANCE. From the earliest days, music has connected with both my boys. From nursery rhymes and the In The Night Garden theme to living room raves to The Crazy Frog, music matter to them, develops them and inspires them. And it matters to me. I know from speaking to other parents and to friends who are teachers that the frustration is shared. The system is hard, and it is demoralising to watch funding slip away and with it the chance to give children a rich experience. But if you are a teacher who supports the arts in any way, I want you to know that it matters and we recognise that it does. Even the most disorganised, breakfast-‐deprived parent sees and values the individuals who give our children the chance to achieve outside of the box. So thank you, from me and B and the baby x
Sian McCarroll, 34, is a disorganised Mum to 2 boys from Birmingham. She started writing about her experiences of being Mum to B (now 6) in 2014 on dazedandmumfused.wordpress.com, but has been somewhat preoccupied since the Baby (1) arrived back in July 2016. Dazedandmumfused can be found on Facebook and Instagram.
Why I love music A pupil viewpoint by Isla, aged 7.
I love music at school ever since I joined it. It’s pretty hard to play instruments that you haven’t played before so this rhyme will help you.
I love music very much But don’t touch! I love music very much But let the teacher help you on the way Then you’ll know how to play music Every single day.
Could one of your pupils write us a poem or a story about music for our next issue? Tweet us @primarymusicmag
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Primary Music Magazine
Issue 2.0 Summer 2018
Primary Music Magazine
Issue 2.0 Summer 2018
Bollywood Brass Academy
World music resources and workshops with a Bollywood twist. Kay Charlton discusses the education work of Bollywood Brass Band. The Bollywood Brass Academy was established in 2017, to consolidate the education work of the Bollywood Brass Band (BBB) and to celebrate the 70th anniversary of Indian Independence. BBB have been performing and touring for over 25 years -‐ at venues, music festivals (a big favourite was the Blue Peter Proms!) and of course at Indian weddings in the UK, India, and elsewhere around the world. Funding from Arts Council England helped to create a website with downloadable resources, and supported a year-‐long ‘Independence’ project, working with Music Hubs and traditional brass bands in three locations to deliver Bollywood workshops and performances. Alongside playing the trumpet with BBB, I teach brass and WCET at KS2 and it is very important to me that children are encouraged to continue playing an instrument after their WCET year. The Academy’s Independence Project was designed to promote instrumental progression and continuation, and to raise the profile of brass playing. We delivered workshops and performances which enabled participants to take part in, and their families to see, high quality music-‐making -‐ something mentioned in Susan Hallam's recent WCET report for Music Mark. Using popular Bollywood songs, we created new arrangements in three versions to encourage vertical progression: one for WCET using 3-‐5 notes, with backing track; the same song arranged for school band; and another for the traditional brass band set-‐up. On performance and workshop days children and young people would play alongside BBB -‐ seeing professional musicians close up.
“The looks on the children’s faces confirmed that they certainly enjoyed performing. It was a magical experience to witness 145 musicians of all standards and ages performing together at the finale.” Bedford Music Hub For the Independence Project we worked with Bedford Music Hub, Slough Music Service, Bedford Band (an adult brass band) and Middleton Youth Band (MYB), a brass band from Greater Manchester. During workshops MYB and Year 3 & 4 WCET groups learnt about Bollywood and Bhangra, and learnt one of our new arrangements of Yeh Dosti, Rang de Basanti and Chale Chalo, playing along with backing tracks, with a touch of Bollywood dancing along the way! On the Bollywood playing days we worked with around 100 participants in each Education Hub, where children took part in workshops with BBB during the day and performed alongside us in the evening. Children in Slough took advantage of our Arts Award Discover logbook and did Discover in a day.
“Children had an amazing time today! They were engaged throughout the whole workshop day and learnt new techniques. They feel very proud of themselves.” Slough Music Service
For further information and FREE downloadable resources visit www.bollywoodbrassacademy.co.uk Twitter: @BolBrassAcademy Instagram: @bollywoodbrassacademy 11
Primary Music Magazine
Issue 2.0 Summer 2018
A journey from Special Measures to Top 1%. Jimmy Rotherham discusses how learning about the work of Zoltan Kodaly helped save his school… When I began supply teaching at Feversham, four years ago, music provision was typical of many primary schools. A few broken instruments on a trolley, competitive singing in assemblies which had become shouting contests, and music lessons which had consisted of objectives like "Children will learn the names of the Beatles.” Without any training or guidance in musicianship, only three or four children could sing in tune or match a pitch, and rhythm and pulse were generally insecure. Children were not enjoying their music lessons, and there was no culture of music-‐making at home. But they did know that the 3 Beatles were called "John-‐Paul, George and Pingu.” What I didn't realise at the time was that my headteacher had already tried out various music specialists -‐ whilst all were great musicians, they did not know how to relate to younger children and teach developmentally appropriate lessons. I was no different, given that most teachers are trained as secondary music teachers or primary generalists with virtually no music content in their PGCEs. But my headteacher obviously saw something in me that got me the permanent job. I later discovered it was because I was able to engage children and had a belief that all children, given the right training, would be musical. This philosophy is all well and good, but it was clear to me that I simply didn't have the tools or the knowledge to make this happen. The children could not even sing fairly simple songs in tune or keep a steady pulse. Fortunately, my research drew me to the work of Zoltan Kodály, and simply by adopting a few strategies, I started to quickly see results. Kodály was highly critical of the music education system in Hungary, which did not recognise the importance of music in primary schools and was therefore not spending enough time on music. The curriculum was too focused on rote instrumental learning rather than musical understanding, training for teaching music in primary schools was poor. Sound familiar? With his colleague Jeno Ádám, Kodály spent a decade reforming music teaching in Hungary and was highly influential. Eventually this led to the holy grail of government support, and by 1950 the first music primary school was opened -‐ by 1960, there were over 100. By 1965, half of the schools in Hungary were music schools. An interesting effect of this was that music schools performed far better academically in all subjects.
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In 2013, Jimmy Rotheram was ready to quit teaching, burdened by the effect of cuts combined with 30 hours per week of paperwork. Instead, he switched to Primary School music teaching and fell in love with the profession again, thanks to Feversham Primary Academy prioritising music and giving him and the children the time, resources and support to succeed. In this time, the school has risen from Special measures to the top 1% of schools in the UK for pupil progress. This has gained international attention, and Jimmy has appeared in the Guardian, The One Show and Radio 5 live. Jimmy is still doing 60 hour weeks, but this is now spent on getting the most out of pupils, as well as supporting other schools across the country with their music programmes and music education advocacy. Find him on Twitter @MusicEd4all
Primary Music Magazine
Issue 2.0 Summer 2018
The approach transformed musical literacy in Hungary and took off across the world. Yehudi Menuhin and Cecilia Vajda brought the method to Britain in 1967. Having read about this, I enrolled on a Voices Foundation course and caught the CPD bug. Since then I have been on every possible course organised by the British Kodály Academy and have become part of the BKA members group, which is an incredible source of peer advice and support. The Kodály pitch sequence starts with "so" and "mi", which everyone can sing in tune. This is because it imitates a commonly heard sound in our language -‐ mums will likely use this when calling their children -‐ "Johnny, your dinner's ready" -‐ "so mi mi so so mi mi.” Sure enough, every child could sing this -‐ perhaps in a different key to the one I gave them, and often in a timid, tremulous tone or gurgling growl. Slowly but surely, eventually the training encouraged them to listen, tune in to each other and develop their voices. The rhythm sequence begins with simple "ta" (crotchet) and "titi" (quaver) combinations. The games provide kinaesthetic reinforcement of both rhythm and pitch, as well as concepts such as phrasing and dynamics. In addition, social development is integrated into the programme, as children develop confidence, turn-‐taking, listening and working with peers outside their friendship groups.
Although the pedagogy is very deep and sometimes daunting for "newbies", it's very easy and productive to start by playing the games and songs, and to keep developing the methodology as you learn until you become more comfortable with the tools and methodology. The effect on Feversham school has been breathtaking. Learning behaviour seemed to improve within a few weeks. After 6 months or so most children were singing in tune and keeping a steady pulse. My headteacher loved what he was seeing, and bit-‐by-‐bit, agreed to extend the programme until children were getting up to 6 hours of music per week. After a couple of years music had gone from crawling in pain to soaring with joy. Three children became the first Muslim pupils in Bradford to successfully audition for the music service's gifted and talented programme. The choir sing, not only completely in tune but in beautiful harmony, and singing in tune is the norm across school. Musical elements are integrated into other subjects, and by Upper KS2, all children can sight read, aurally dictate, compose, improvise and perform major and minor pentatonic melodies with confidence. Some children live for music at school. We even have a few children who will not speak but will sing all day long to develop their language. When considered with the mental health benefits, for music to be denied to so many children in state schools is nothing short of cruelty.
Not only are we no longer in special measures, we are now in the top 1% of schools in the country for pupil progress and have been nominated for TES Primary School of the Year. How much of this is due to the Kodály approach? Ask anyone who has looked into the neuroscientific benefits of music study. Drs Katie Overy and Emma Moore, from Edinburgh University showed that the approach helps us to learn language more effectively, grows white matter in the brain and improves reading outcomes for dyslexic children. We will be conducting a series of workshops with Edinburgh on how to deliver music to children with reading difficulties, starting on 24th May and we are still taking bookings for interested schools.
If you're interested in bringing the Kodaly approach to your school, contact info@kodaly.org.uk. 13
Primary Music Magazine
Issue 2.0 Summer 2018
Uniting pupils through song on Peace Day Jane Hanson explains how you can sign up and sing for Peace with One Day One Choir
One Day One Choir is an inspiring global peace initiative which uses the harmonious power of singing together to unite people around the country and throughout the world on Peace Day, September 21st. It’s the brainchild of a teacher who loves singing and who has also visited countless schools and travelled the world and seen the magical impact of singing together as a tool for harmony and unity for children of all ages and for people in hugely diverse communities and schools. The project is run for free and since it began in 2014, more than a million people have taken part and raised their voices for peace. One Day One Choir is perfect for schools, especially primary schools, as it provides a simple, accessible, inclusive and inspiring activity which connects countless aspects of school life, learning and social engagement and is great for an assembly or lessons at the beginning of the school year.
“We love One Day One Choir, engaging with you has united our global school group more than any project we’ve ever done.” – Rachel White-‐ Hunt, teacher It fits as well with academic work as it does with social, moral, spiritual and cultural elements of education and gives children and teachers an easy focus to engage with peace and unity -‐ to think and talk about what peace means to pupils in all kinds of ways -‐ from mindfulness and kindness to social integration, peace in the playground and global goals -‐ and to consider and decide how they might aim to put those things into practice throughout the year, at home and at school.
Joining in is incredibly simple as singing just one song is enough to take part and you can choose what works for you. Don’t worry if you haven’t got suitable songs to hand -‐ there are free songs on the One Day One Choir website: http://www.onedayonechoir.or g/singing-‐for-‐schools/
“We couldn’t believe the positive and powerful impact our short peace assembly had on pupils and the school; the children talked about it for weeks. Last year we sent music to our partner school in Malawi so they could join in with us. It was so inspiring; not only did 500 pupils sing there but the entire village came out and sang too!” – Val Riziotis, Cheam Common Infants’ School, Surrey Taking part provides the opportunity to involve the entire school community with these ideas through singing together and to link with others locally and feel connected with thousands and thousands of others nationally and globally who will also be singing for unity and peace on September 21st.
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Promotion
Issue 2.0 Summer 2018
Primary Music Magazine
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Primary Music Magazine
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Making Music Accessible for Every Child Mel Haldane shares her approach to musical inclusion. Robert Owen Memorial Primary School is a mainstream primary with four supported classes (for children with Autistic Spectrum Disorder) situated in Lanark, South Lanarkshire. At our school equity and inclusion are a key part of every day school life. All children are fully included in learning and opportunities are provided with equity at the core: our ethos is that everyone should be given what they need, and be supported appropriately, to achieve success in their learning. So, I structure my music lessons with every pupil in mind, not to achieve just one or two learning intentions, but sometimes many individual targets for the differing abilities and needs in my class. My role as expressive arts teacher takes me across all stages in the school and frequently one of our supported classes join the larger mainstream peer group. Of course, there are also differing needs and abilities within the mainstream group, however, many of the ASD strategies are suitable for all children.
Music is a great leveller with those who perhaps find other areas of the curriculum challenging. With music they can feel they are on a level playing field with their peers and really do find their voice. Music gives the children an identity and an opportunity to explore their own and other cultures. It breaks down barriers and opens up opportunities to learn in a different and active way.
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When planning a lesson I take into account individuals, their skills, interests and needs, talking to their class teacher and support assistants and recognising that I have to be extremely flexible at all stages of the delivery of teaching and learning. Engaging children with autism sometimes involves tapping into their special interest, so often the music I select may reflect that or the visual supports may contain a character or symbol they can relate to. Sometimes it may just link to something else they are learning in class, as this can make them feel comfortable and familiar with the activity and opens their mind to the learning coming their way! To reduce anxiety I provide a visual schedule which can be in writing or using Boardmaker visuals to communicate what is going to happen, when and with whom. Pupils with ASD feel safe with a visual schedule in place and if they are able to predict the structure of the lesson, the threat of the unknown is removed, stress reduced and tensions lowered providing a calmer learning environment. It is always handy to include a “change” card in the schedule for when interruptions happen or the lesson goes in a different direction! We always start each session with a welcome song we sing to each other which
Primary Music Magazine
Issue 2.0 Summer 2018
brings about interaction between the two classes and a familiarity which again reduces anxiety. Ear defenders also reduce stress for those with audio sensitivity and sitting mats allow individual pupils know exactly where they are going to sit (I have to remember the same place every week!). With the differing needs and abilities in a group of around thirty, I set the learning intentions with a lot of consideration. The Scottish Curriculum for Excellence has four specific experiences and outcomes for music at early, first and second level (the equivalent of KS1 and KS2 in England and Wales), which are a set of clear and concise statements about children's learning and progression in music. I am very specific about which one is the focus and I vary the level according to ability. At this point I have also to consider the responsibility of all in numeracy, literacy and health and wellbeing. This sounds like an additional burden, but actually, this is where I can include children in learning that often reject or put up barriers in their usual classroom environment. So, songs about counting at early and first level can also have a numeracy target, looking for musical patterns in a pop song at second level in order to create their own relates to both literacy and numeracy etc. Music acts as a gateway to an alternative mode of transport for the children’s learning and it’s my job to make sure all vehicles are moving along smoothly and there are no traffic jams along the way! Children love to be active and would rather be “doing” than sitting still and listening, so practical activities are important, whether it is using classroom percussion or moving and dancing whilst singing. Concrete learning is particularly important for children with ASD as transference of skills and creative thinking can be challenging. Do it, make a noise, see and hear where it comes from! Assessing the children’s learning also requires a flexible outlook. The child that is not looking my way or sitting within the circle, perhaps not singing or clapping is not necessarily not listening or disengaged. I look for the smallest indication that shows me that they are achieving their target. This often happens when I’m “not looking” or playing silly teacher by purposely getting things wrong in order that they correct me or even from feedback from staff when they return to their class. Success criteria may also differ from child to child, perhaps it is simply holding the instrument correctly or working in a group that is the target, whilst for others it may be creating rhythmical patterns with the instrument and using ensemble skills to perform. Getting to know the children and their behaviours is key to building a relationship that can bring out the best in them, challenge them and promote a positive learning environment. Of course, our pupils love to share their musical skills and ideas with others through music and this often leads spontaneous performances in class or to the whole school. It’s not about discovering new talent here at Robert Owen, but helping children find their voice. Finally, music should be a fun and happy way to expressive way of communicating ideas. In all the planning I always ask myself, but will this be fun? It has to be! For some children this can be a fantastic way of expressing themselves without the restrictions of language or the written word. Music is liberating and can bring us together making connections with others and their personal worlds they live in.
Mel Haldane is a Primary Teacher specialising in music and expressive arts living in Lanark, Scotland. She recently completed a PGC in Inclusive Education.
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Primary Music Magazine
Issue 2.0 Summer 2018
A Capital Idea Chrissy Kinsella shares the work of the London Music Fund “I want to thank the Mayor and everyone else for such great musical support, and that I have a chance to learn more and continue playing. I promise to put in as much effort as I can and reach my dreams. I want to play with the LSO when I grow up and help children like me. Thank you all so much!” Rejus, former London Music Fund Scholar The London Music Fund was founded over six years ago to support music education in the Capital. We are an independent charity (no. 1141216) with the Mayor of London, Sadiq Khan, as Patron. We provide grants of around £300,000 every year, working in partnership with the 30 London Music Hubs, to enable thousands of children and young people across every London borough to develop their musical potential. We do this through four-‐year Scholarships for children from low-‐income families, and wider “Partnership Project” opportunities to learn from and perform alongside professionals in iconic venues. Since January 2012 we have worked with over 10,000 aspiring young musicians, with more accessing our programmes every term. With the support of the Mayor of London we work in every London borough to ensure that primary school children in need of support are able to develop their full potential, and we are always working to widen our reach. Our vision is that every child who demonstrates significant musical ability, enthusiasm and commitment to learning an instrument is given the opportunity to flourish. We strive to fulfil that vision through our two programmes, Scholarships and Partnerships.
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Our Scholarship programme provides four-‐year funding to children between the ages of 8-‐13, from low income families. Since 2012 we have awarded over 450 Scholarships, currently supporting over 200 across London. Opportunity, access and diversity are important, and 65% of the children we support through our Scholarship programmes are from BAME backgrounds. Children are nominated through their primary school, having been identified as showing potential and commitment to learning an instrument, but from a family where the ongoing cost of tuition would be prohibitive. The Scholarship offers a minimum of two hours a week of tuition (including lessons on their chosen instrument, groups/bands and other additional activity), and supports them through the difficult transition from primary to secondary school which is a well-‐known “danger zone” for children. By covering this tricky transition children who may have given up their musical studies continue learning with fantastic outcomes; in 2017 98% of all graduating Scholars had improved by two grades or more during their Scholarship, 70% had improved by three grades or more. One of the key successes of our programme has been the Scholarship Mentor, assigned to every child, and acts as a liaison between the child, school, parent, music teachers and the Fund, ensuring they are accessing and making the most of all opportunities afforded to them. Scholarships are awarded at £4,000 and last for four years.
Primary Music Magazine
Issue 2.0 Summer 2018
Our Partnership projects are inspiring collaborations between boroughs, schools, professional arts organisations and venues, and offer young musicians the change to perform alongside London’s top musicians in iconic venues. Partnerships are awarded at maximum £15,000 for projects up to one year. Since the establishment of the London Music Fund we have funded some fantastic Partnerships, most recently a Motown project with Merton and Sutton Music Services, a composition project with Haringey Music Service and the London Sinfonietta and three brass projects with Brent, Barking & Dagenham and Havering Music Services. We have just approved three new, exciting projects including a musical theatre orchestra with Bromley Youth Music Trust and a WW1 schools’ project with Waltham Forest Music Service. It is key that every one of our Partnership projects has a lasting legacy and is not simply a ‘one-‐off’ experience. This enables young people in each London borough to feel real, long-‐term benefits of a Partnership project as it is intended that there is provision for participants to continue making music once the initial project is complete. “I enjoyed the project because we all got the chance to play a new instrument and progressed loads in the time we had. When we picked up the instruments we probably thought we couldn’t achieve a thing but we managed to get really good and played to lots of people including the Mayor of Bromley.”
The London Music Fund is always looking for potential donors, sponsors and friends. You can reach them via email: chrissy@londonmusicfund.org and you can follow them on social media: @londonmusicfund
SAVE THE DATE for the third annual national
Thursday 21st March 2019 10am-‐3.30pm Forest Arts Centre, Walsall
Further Information & Booking: www.musiceducationsolutions.co.uk
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Primary Music Magazine
Issue 2.0 Summer 2018
What is Artsmark and is it right for your school? By Deborah Welch Artsmark is the creative quality standard for schools – it is accredited by Arts Council England and it provides a clear framework for teachers to plan, develop and evaluate arts, culture and creativity across the curriculum. The award is a practical tool for enriching the arts provision whatever the starting point. It can be delivered by secondary, primary, special schools, independent schools and pupil referral units in England. Artsmark brings learning to life through arts and culture – pupil confidence can be increased with creativity in the curriculum, it can help encourage leadership skills and pupil voice and it can support children who do not find the curriculum easy. Embarking on the Artsmark journey will support your school in accessing practical resources as well as connecting with local cultural organisations. It will also give you an opportunity to reflect on the current strengths in your creative work across the setting and identify future plans and direction Artsmark is all online so once you are registered you will be able to keep the paperwork in one folder. However, it is important to realise that Artsmark is very much a school development tool. It should be closely linked with your school development plan and once you begin to plan you should allow a minimum of 12 months to complete the award – the most successful schools take the full two years. You start by completing a self-‐assessment document which helps you audit the level of provision you already have. Then you attend a development day (which is free) where you will spend time considering the two pieces of paperwork – the Statement of Commitment and the Case Study. The Statement of Commitment is the beginning of the Artsmark journey and you outline your plans in a framework of six questions. Once you have completed this and had it signed by your Headteacher and Chair of Governors you submit it to Arts Council England. You don’t submit the Case study document until you are ready to apply for a particular level of the award. The levels are Silver, Gold and Platinum. Your self-‐assessment document will help you decide which level you feel your creativity and arts level currently reflects. It is important to remember that the level you are awarded when you submit your Case study is based on the impact your Artsmark journey has had on your school. Silver levels tend to reflect school that are emerging in developing their creativity throughout the curriculum, staff are developing expertise and there are clear results. Gold reflects schools that are really embedding creativity and developing best practice and Platinum school are those which are very much stretching both staff and young people, are able to offer advice and are making a big difference. You can use the Quality Principles to help you plan your Artsmark journey – they can be a useful tool while planning, delivering and reflecting upon your Artsmark journey. They are embedded throughout the new Artsmark award to better support schools to achieve their ambitions for high quality arts and cultural provision.
How to get involved with Artsmark Contact your local Arts Council bridge organization to find out what support they are offering – many will do free briefings before you commit. Alternatively, visit www.artsmark.org.uk 22
Letter from the Editor We were overwhelmed to have nearly 4000 hits on our first ever issue, published back in March 2018! Thank you for reading and sharing our inaugural issue, it really means a lot! We hope you’ve enjoyed our jam-‐packed Issue 2.0, which as promised contains content from YOU the teachers to help, support and inspire each other! As we prepare for Issue 3.0 which is due out in October, please do let us know if you have any ideas or suggestions, so that we can make the magazine as relevant and useful as possible to our readers.
Liz Stafford PrimaryMusic Magazine
Issue 2.0: Summer 2018
Do you have an idea for Issue 3.0 of Primary Music Magazine, out in October? Tweet us @primarymusicmag or fill in the contact form at http://musiceducationsolutions.co.uk/get-‐in-‐touch/
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Primary Music Magazine
Issue 2.0 Summer 2018
Issue 3.0 out October 2018 To contribute or advertise visit
www.musiceducationsolutions.co.uk/get-‐in-‐touch
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